The form of the first movements of Mozart's Concerto for T재 pianos andOrchestra, K.242(1776) and Concerto for Three Pianos and Orchestra, K.365(1779)is the topic of this paper, from the point of views of Johann Christian Bach'sConcerto for Harpsichord and Orchestra, Op. 7 as a model and of Robert Levin'sformal skim of Mozart's mature piano concertos.Among concertos composed in Salzburg during the same years, there is no significant difference in formal organization. The double and triple concerto havesome common features. The concertos are based on the three-tutti from: opening,middle, and final. The layout of thematic materials is very systematic--regular use of sujet libre is a notable feature. The placement of half-cadence(in the tonic anddominant) is rather regular and important. The duplication or proliferation of the closing material are found. The formal organizations of the first movements of these two concertos follow not only Mozart's model concertos, J. C. Bach's Op. 7,but match well with Levin's formal skim of Mozart;s mature solo piano concertos.

The aim of this paper is to examine education programs of music at the ArtSchool of Yanbian University, an academic institution for ethnic Koreans living inChina, and to present the outlook for and ways to improve the school's music education.To do so, this paper looks into first college education offered to Ethnic Koreans and secondly courses and goals introduced by the School of Art of Yanbian University. Thirdly, this paper deals with courses provided by each department of the school before proposing ways to improve the music education in the future.This research contains an in-depth analysis of education offered by the Yanbian Art School in 2001 centering on music programs. The school comprises four colleges of music. fine arts. dancing arts and drama and the Music College has been growing steadily since it was promoted to a college unit in 1993.and now has some 70 professors, 10 administrative staff and 700 students. So far about 350 music majors have graduated the school and recently a master's degree course wasopened.The music college consists of 3 departments - Music Education Departmentmostly aimed at fostering music teachers, Music Expression Department for students wishing to become musicians and Composition Technique Theory Department focused on nurturing composers and conductors. Students are judged by course scores, field research, practical training (ranging from presentation, to work production and teaching training) and thesis. Of the above, course scores are known to account for a relatively larger past of the total evaluation compared to other music schools.The last part of the paper presents ways to further develope and improve the music school as follows.First, the school must reduce the credits allocated to regular teaching courses and instead increase credits for basic music education and compulsory courses, while downsizing total credits in general.Second, the school must add popular music and video music departments to the xisting programs so that students keep in touch with modern trends music.Third, the school must promote exchange and field study programs through presentation, filed experiments, overseas study programs and credits for exchange programs.Fourth and finally, the school must create an environment where professors are committed to research work, as well as extend support for professors so that they can enhancc their knowledge and teaching skills.

This study provides a possibility of analysing rhythmic attributes of contemporary music through contour theory.The early idea of pitch contour occured as early as 1948 in the writing ofcomposers such as Toch and Schoenberg Over a decade later, the work of Charles Seeger, Charles Adams, and Micczyslaw Kollinski set forth the theories of contour analysis But, in the music theory, the concept was formalized by Robcrt Morris Michael Friedmann, and Larry Polansky, Elizabeth Marvin and Robert Morris, in particular, have signiflcantly developed the analytical methodology with which to apply the contour thory.contrast to the previous results of contour music analysis, which focused onpitch element, this analysis presumes that the rhytbms also show similar characterTo prove the hypothesis this thesis re-classified the Elizabeth Marvin and Noel Painenr's rhythmic analysis theories and adjusted the result into Stockhousen's In freundschaft. As a result the number of rtythmic characters that continuously appear in contemporary music were found Also, the possibility of defining similarities of ythmic element through various methods by adjusting the theories including inversion and retrograde, that are similar to set theory, was found.The contour theory will be a good example of analysing rhythms in contemporary music that were believed to be inconsistent in the past.

The aims of this study are to enhance musical thinking through solfege activities.The progress idea of musical thinking in process has important implications for the performer and the music teacher in that it calls our attention to important issues such as the purpose of musical comprehension through utilizing the system of solfege learning.In regareds to the Koda'ly choral method, functional melody and harmony of solfege materials are approached through singing practice and ear training exercises as well as through more intensive structural analysis of excerpts from solfege exercises, masterpieces and their stylistic characteristics.In this study, solfege activities are categorized in three parts.The major three activities are (ⅰ) concern about musical reading and inner hearing.(ⅱ) developing harmony and form with group work.(ⅲ) imagery to help memory.Materials along with fragments of the Koda'ly exercises, the solfege activities excerpts from the late Renaissance, Baroque and Viennese Classical and Romanticperiods. It is closely tied to studies of materials and activities of learning sequences in solfege teaching.Aspects of solfge activities enhance students musical and pedagogical experiences by means of gradually developed Knowledge.In conclusion, utilizing the system of solfge learning develops musical thinking and the mature of choral activity. It is hoped that this study will sere as an opportunity to help develop musical understanding and to experience music itself.

Mit der hier vorliegenden kurzgefassten Studie wird versucht, ueber Alkuin's(Alcuin Flaccus, oder Alchuinus. oder Alcvin, selbst genannt Albinus ca.735-804) in Latcin gcfasstc Abhandung mit dem Titcl 'Musica' zu berichten Die wichtigste Absicht ist eine erstmalige Uebersetzung von Latein ins Koreanisch. wobei auch die Auswahl der Woerter vom Alkuin untersucht und bestimmt wird.Die entscheidende Bedeutung Alkuin's Musica liegt darin, dass die Musica als Erstere ueber Kirchenmodi berichter Seit die Aliuin's von Martin Gerbert in seinem "Scriptores ecclesiastici de musica sacra potissimum" im Jahr 1784 erstein Mal erschienen ist ist die Echtheit dieser Abhandlung sehr umstritten, bis WBrambach im Jahr 1883 seine Echtheit bezeugt hat. Der deutsche Kirchenmusikwissenschaftler U Kornmueller hat in seiner Reihenbericht mit dem Titel 'Die alten Theoretiker' in KmJb ueber den Inhalt der Alkuin's Musica kurzerhand berichtet Die fast alle lexikalischen Angaben beruhen sich auf diese oben genannten xwei Theoretiker, ausr Herrn Guschee im Grove's Artikel.Nach genauer Untersuchung und Uebersetzung kann man folgende Ergebnisseaussprechen.Erstens zeigt die Beschreibung Alkuin's, dass die Westeuropaeer sich am Ende ndes achten Jahrhunderts von dem griechischen Tonsystem ganz befreit ungihre eigenen Kichentoene aufgbaut und dazu die theoretische Grundlage einigermassen fering gestellt hat. Aber Alkuin verwendete immer noch die griechischen Namcn fuer die Kirchenmodi und noch keine Bezeichnung wie Dorius oder phrigius usw. Er unterschied nur zwischen authentischen und plagalen Modi und dazugehoerige Ambitus. Zweitens kann man sagen, dass die Lage des Tenorsan dieser Zeit schon festgelegt wurde, aber ueber die Gestaltung der Finalis Keine Aussage vorfand. Dritlens scheint es durchaus sicher zu sein, dass diese Kirchenmodi in sciner Zeit in ganzen Europa breite Verwendung fanden, auch dadurch, dass der Verfasser Alkuin als Englaender in Rom und Deutschland arbeitete, und als Erzieher und Verwalter der verschiedenen Schulen seine immeseFaehigkeit zergte.

A¨gypten hat wegen seiner eigenen Kulturscha¨tze aus Dreitausend jahrelange Geschichte sta¨ndig die Reisenden und Historiker bezaubert und deren Interesse erweckt. Doch solange das Schrifttum schweigt bis zur Entzifferung der Hieroglyphen,konnte die Geschichte A¨gyptens gar nicht wissenschaftlich wahrgenommen werden Die Rezeption der alta¨gyptischen Musilk in der Musikgeschichtsschreibung war nichtsoviel anders.Von einer wissenschaftlichen A¨gpytologie kann erst seit der Entzifferung der Hieroglyphenschrift durch Jean F. Champollion im Jahre 1822 gesprochen werden.Nach der Entstehung und Ausbreitung der vergleichenden Musikwissenschaft um diese Jahrhunderwende ermo¨glicht die intensive Forschungen u¨ber die a¨gyptische Musik Die Vertiefung der a¨gyptischen Musik ist erst bei Hans Hickmann gelungen.Besonders viel verdanken wir seinen Erforschungen, weil er wa¨hrend seines langja¨hrigen Aufenthalts in A¨gypten die Rekonstruktion der a¨gyptischen Musikkultur durch seine u¨ber 150 vero¨ffentlichen Schiften beitragen hat.Eine musikwissenschaftliche Untersuchung u¨ber die alta¨gyptische Musik bedeutetim engeren Sinne eine musikarcha¨ologische Untersuchung. Musikarcha¨ologie ist eine interdisziplina¨re Forschung, die auf Grundlage der Musikwissenschaft und Archa¨-ologie neue Kenntnisse zu gewinnen sucht. Musikarcha¨ologische Artefakte sind in erster Linie Musikinstrumente oder archa¨ologische Funde, auf denen Musikinstrumente be. deren Auffu¨hrungspraxis dargestellt sind. Als drittes Material sind die schriftlichen Texte zu nennen. Wie sich das Wissen u¨ber alta¨yptische Musik erweitern la¨-Bt,liegt in der Hand der Musikarcha¨logie selbst, die aus der Perspektive der A¨-gyptologie und interdisziplina¨ren Forschung gefo¨rdert werden mu¨Bte.

It is the purpose of this study to document the decline of voice leading concept for the twentieth-century tonality.In this essay I shall try to show how Shostakovich achieves a sense of unity through the association of interval structures made up of linear melodic patterns and of the voice leading provided by accompanimental harmonic figures.Some twentieth-century music seems to invite the use of traditional analysis.Lots of music by Stravinsky, Bartok, Berg, and even Schoenberg has a kind of tonal sound, at least in certain passage. But on closer inspection, we generally find that tonal theory has little to tell us about most twentieth-century music. When twentieth-century composers create a tonal sound, they usually do so by using non tonal means. And for a piece to be tonal, it must have two things: functional harmony and traditional voice leading. But, a piece is not tonal, does not mean it can't have pitch or pitch-class centers. All tonal music is centric, but not allcentric music is tonal.Post-tonal voice leading models are 3 patterns. The first has its bases in the theories of Heinrich Schenker. The second has its the pitch-class set of Allen Forte and others. The third has its bases in recent theoretical work by David Lewin. The prolongational analysis identifies some tones as structural and others as embellishing. Associational analyses linear projections of harmonic type from musical surface. Transformational model shifts our attention from the chords themselves operations, transformations, that connect them.Nowadays, many composers are again exploring the possibilities of synthesis of tonal and atonal procedures. The time is ripe to approach voice leading techniquesanalytically.